More U.K. Obscurities: Ten Year's After

TEN YEARS AFTER-The Sounds/Portable People U.S. Deram 45-85027 1968

For me Ten Years After will always be pretentious blues rock dinosaurs. Their untitled 1967 Deram LP debut is not without it's charm (with the jazzy organ instro "Adventures Of A Young Organ" or the jug band blues humor of "Losing The Dogs") but overall it failed to grab me in any major way. How strange is it that the band's debut LP was issued before they ever released any singles?  That single is today's item of interest. It was launched in February 1968 in the U.K. (a month later in the USA as Deram 45-85027). I've flipped it for our post because I much prefer the B-side.

"The Sounds" should have been the A-side. Forget any blues pretensions or 20 minute Slim Harpo covers, "The Sounds" is a full on freakbeat gas from start to finish. Curiously it reminds me a bit of Dennis Couldry's "I Am Nearly There" (UK Decca F 12734 issued the same month) with it's downtrodden, morose vocals with lyrics of mental confusion brought on by "the sounds". Is it about paranoia? A bad trip? A man who has just about had enough of life?  You decide. There's occasional bluesy but blistering guitar licks that burst out while the main verses feature a subtle organ and almost Gregorian chant backing vocals that gloomily plod along like a freakout dirge and it just builds and builds. The organ gets funkier and sound affects slowly start to pile on creating a brilliant cacophony of paranoia and confusion. It stops abruptly and slowly creeps back in for a few seconds. Positively trippy, man.

"Portable People" is not as groovy. It's not as bluesy as the bulk of their LP tracks but it's a laid back affair with music box piano tinkling away that reminds me of a light weight Lovin' Spoonful track or Canned Heat at their most plastic blues. Totally inoffensive but totally disposable too.

Both tracks are available on a deluxe Deram/Decca reissue of their debut LP that is still in print and are also available on streaming. 

Hear "The Sounds":

https://youtu.be/2urSalzMI_4

Hear "Portable People":

https://youtu.be/lffCxMHbbIE

David Bowie Cringes: The Laughing Gnome Resurfaces A.D. 1973

 

DAVID BOWIE-The Laughing Gnome/The Gospel According To Tony Day U.S. London 45-20079 1973

Poor dear David Bowie, he probably turns in his grave every time "The Laughing Gnome" gets a streaming hit...long touted as his LEAST favorite recording, this is it's story. 

Launched in the U.K. in April 1967, "The Laughing Gnome" was Bowie's second of three Deram singles. It sank without a trace but was curiously resurrected in September 1973 to capitalize on David's new found fame where it strangely got all the way to # 6!! Sensing that the folks in England might be onto something London records in the U.S. (who like Deram were tied to the parent company of Decca) launched the single here to sadly no avail and simultaneously issued a comprehensive double LP containing most of his entire Deram discography called "Images 1966-1967".  Since David Bowie refused to acknowledge its chart ascendancy in 1973 "Top Of The Pops" created their own video for it!  

In 1990 during his "Sound + Vision" tour Bowie announced that the set list would be determined by votes made by telephone. The New Musical Express unsuccessfully attempted to convince voters to choose "The Laughing Gnome". Bowie later went on to create a track for charity for Comic Relief in 1999 titled "Requiem For A Laughing Gnome". 

For those not in the know, "The Laughing Gnome" is a comedy piece of sorts with "Chipmunk" (as In Alvin and the...) style sped up voices that tells the story of a hapless man who meets a cheeky gnome whom he invites home. The musical backing is an interesting mix of David's standard backing group at the time (The Buzz: Derek Boyes-organ/piano, Dek Fearney-bass and John Eager-drums) plus guitar (Peter Hampshire) and woodwinds that give it an interesting texture almost akin to a Renaissance fair band. The number is not as insipid as it's supposed to be and it's actually fairly catch (despite all the band "gnome puns": "Why don't you get you hair cut you look like a Rolling Gnome" "Yeah I went to the London school Of Eco-gnomics"). Producer/arranger Gus Dudgeon provided the gnome voices and Mike Vernon handled the production. There are allegedly a few alternate versions lurking in the Decca vaults which sadly have yet to be released.

French picture sleeve 1973

The flip, "The Gospel According To Tony Day" is a bleak, down trodden number where Bowie lyrically categorizes his friends and lists his grievances with them. There's some excellent woodwinds and catchy "ba ba ba" backing vocals from the Buzz (who's contribution is minimal, just bass and drums and some tinkling barroom piano). It also contains what many (myself included) perceived to be the "F' bomb ("Waste of f*cking time, take a look at my life and you'll see, take a quick butchers..") but apparently he's singing "flipping".

Danish picture sleeve 1973

Both tracks are available in a multitude of places, most recently on a 7" singles box set of David's 60's Decca/Deram sides called "Laughing With Liza" and streaming as well. 

Hear "The Laughing Gnome":

https://youtu.be/DAnVNXglw9I?si=gy4wX4-WcbKdM8Yz

Hear "The Gospel According To Tony Day":

https://youtu.be/CZWX_BPnr9o?si=DYAuw-yz8jFRK_JJ

Watch a small video about the track:

https://youtu.be/HLZNOOn1pfE?si=7GjEAzcsRmI4RwWS

Somebody Help Me

Jamaican born singer and songwriter Jackie Edwards (born Wilfred Gerald Edwards 1938 died 1992) was discovered by Island records supremo Chris Blackwell who brought Edwards to the U.K. in 1962 after he had a brief musical career at home. Once in England Edwards continued to record for Island but his releases were not ska as one would expect but more akin to an early 60's crooner style. 

One of Edwards most famous tunes was "Somebody Help Me" which gave the Spencer Davis group a U.K. #1 in 1966. The track was extremely popular and recorded by a bevvy of artists from all over the world. I chose ten, here they are, enjoy:

1. JACKIE EDWARDS- French E.P. Vogue INT.18076 1966

Curiously Jackie's version was only available on his first French outing, this E.P. Pay close attention to the backing track as it was utilized on releases #2, 4 and 5 again. I'd love to know who was playing on this session. Though not as powerful as some of the other examples here it's still an excellent version with it's mid tempo groove and high female backing vocals and fantastic production (courtesy of a young Jimmy Miller, later to work with Traffic and the Rolling Stones)!

https://youtu.be/gsXTcMStldc?si=PlaqaoTqlMLhS-Cs

2. THE JAYBIRDS- U.K.  Sue WI-4013 1966

Little is known about this release on the legendary U.K. Sue label unfortunately. It utilizes the backing track of the Jackie Edwards version with some female vocalists singing the main chorus but the rest of the lyrics are missing instead replaced by some ad libbed female vocalists (sounding much like the backing vocalists on #1) scat singing with the melody. I'd swear I hear P.P. Arnold's voice in the chorus! It's also probably the most collectible of all of today's examples!

https://youtu.be/7JU-9zdaYnU?si=ZNOfpw2xP2oo9Uao

3. THE SPENCER DAVIS GROUP-U.K. Fontana TF 679 1966

Hopefully when this record shot to #1 in the U.K. Jackie saw some serious green from it as he himself was rarely gifted with any commercial success. Based around Muff Winwood's murky bass and his Little Brother Stevie's fuzz guitar this number absolutely cooks, owing in no small part to Stevie's soulful lead vocals make it deservedly the massive hit it was. Curiously the American release featured a very cool/funky organ which was strangely missing from the original British 45 release!

Hear the British 45 version:

https://youtu.be/jv7unyYPG0I?si=i_RDms222a6w_PS2

Hear the U.S. 45 version:

https://youtu.be/iggzVjGRft4?si=-5RezeV6e59fK_Dq

4. BILLY PRINCE- U.S. Verve VK.10462 1966

Curiously this version employs the same backing track that we have been discussing!  My Rhode Island DJ pal and record collector pal Ty Jesso hipped this to me back in the early 2000's at Mod Chicago 1 and I have been spinning it ever since. Production credits are shared by Jimmy Miller so I am assuming that is for the backing track. Prince's soulful vocals are top notch but unfortunately the number isn't on YouTube....

5. WYNDER K. FROG- LP track U.K. LP "Sunshine Super frog" Island ILP 944 1967

Once again it's that British backing track!! Led by organ player Mick Weaver, this instrumental British combo used many a backing track from records by Jimmy Cliff, Owen Grey and Jackie Edwards and jazzed them up by adding Weaver's wailing Hammond organ on top (like today's version in question). That said that was only a sliver of their musical output and their  6 singles and two LP's all stand on their own as a required immediate listening!

https://youtu.be/t8c-xuzg7JQ?si=iOEEwp9YJgrBqf6Z

6. THE EVERLY BROTHERS-U.S. Warner Brothers 5833 1966

Also included on the brothers classic 1966 album "Two Yanks In England"  (recorded with help from The Hollies, Jimmy Page, John Paul Jones and as claimed by Graham Nash but not supported by anyone else...Elton John) this version is hands down my favorite of the bunch thanks to the searing fuzz guitar and total "mod Britain '66" musical backing, and of course Don and Phil handle the vocals magnificently!!

https://youtu.be/PVyIGoyAFkE?si=wCCxPgPony_RpA6Q

7. THE BRITISH MODBEATS- Canada Red Leaf TTM 632 1967

Best known for their absolutely ludicrous choice in clothing (check out their LP), Ontario Canada's British Modbeats cut a version in '67 that borrows the fuzz from the original and speeds up the delivery considerably, but to me it's not really bringing anything new to the table despite decent harmonies.

https://youtu.be/FdvWkBJo6mE?si=b7pnMSb_NogeO7WU

8. LOS SALVAJES- Spain E.P. track Regal SEDL 19.522 1967

Titled "Que  Alguien Me Ayuide" this version by Barcelona,  Spain's Los Salvajes adds a dash of freakbeat '66 with their distorted guitars and blistering bludgeoning behind lead singer Gaby Algret's crooning. Along with #6 this is one of my favorite versions!!

https://youtu.be/LLsgvqt9trI?si=8jWAh3rYCSY8pAxn

9. THE LITTER- U.S. LP track "Distortions" Warick 9445-671 1967

Minneapolis, MN's famed snotty garage act, The Litter included this version on their legendary long player "Disortions", it's pretty much a carbon copy of the SDG version with the fuzz jacked up just a bit but still worth a listen.

https://youtu.be/PL1fEC1S3O8?si=4Xl7b_2WxNAO0VSU

10. THE SMALL SOCIETY- U.S. Westchester W-277 1968

The Spencer Davis Group's reach was felt all the way out in Westchester, New York where this fairly obscure version was recorded. Mixing wigged out fuzz guitar with a Farfisa organ this version is a total encapsulation of the late 60's suburban strip mall American rock n' roll  that can only be created by kids who live out in the middle of nowhere (like that genre? I just came up with it). 

https://youtu.be/YyqfMFIZ7OU?si=yNwOD9bzBHn1knOz 

HONORABLE MENTION:

Os Claves (Portugal)

The Beat Kings (Germany)

Jean Claudric And His Orchestra (France)

The Cavaliers (U.S.)

The Soul Tenders (U.S.)

The Shockers (Canada)

The Blue Things (U.S.)

Lee Grant And The Capitols (Spain)

The Tomcats (U.K. via Spain)

The Vibrants (Australia)

The 13th Hour Glass (U.S.) 

More U.K. Obscurities On U.S. Labels On U.S. Labels: Cyril Davies

 

CYRIL DAVIES AND HIS RHYTHMN AND BLUES ALL STARS-Country Line Special/Chicago Calling U.S. Dot 45-16515 1963

Curiously enough before the tide of Beatlemania swept through America Dot records issued the debut U.K. 45 by the Granddaddy of British r&b Cyril Davies here in July 1963. It was originally issued in the U.K. as Pye International 7N 25194 in April. 

Cyril Davies (along with his guitarist Alexis Korner) is credited as being the granddaddy of British r&b. His Rhythm And Blues All Stars line up read like a who's who of British r&b luminaries and included vocalists Long John  Baldry and Art Wood.  Unfortunately his career was short lived and he died unexpectedly in January 7, 1964 after a performance at his beloved Eel Pie Island club in Twickenham of pleurisy (not leukemia as is often stated). 

"Country Line Special" is a rollicking instrumental led by Davie's harp blowing with a frantic r&b backing with some nifty and intricate electric piano noodling (care of a young Nicky Hopkins). It lays the groundwork for so many other r&b instrumentals to come from the U.K. (The Wheel's "Road Block", 

The Soul Agents "Gospel Train" etc). 

"Chicago Calling" is a slightly different track. Davies belts out the vocals as well as supplying harp blowing with some upbeat stride piano playing by Hopkins and some blistering guitar licks Bernie Watson (aka Bernie Watkins). 

Both tracks were collected on a posthumous 7" EP "The Sound Of Cyril Davies"  (see above), sadly neither are available on streaming bar some low quality live BBC recordings.

Hear "Country Line Special":

https://youtu.be/lscwcKgz6J8?si=J9SmTRwinE2KgO-e

Hear "Chicago Calling":

https://youtu.be/tMbKUCnkBpU?si=6Jzmor1DQ6XoAH4x

Cyril Davies and The Rhythm & Blues Allstars Live On British TV:

https://youtu.be/gcnJoeCWwoU?si=swO4v6p-KJu6q6yE

More U.K. Obscurities On U.S. Labels: Ian & The Zodiacs Do Jagger/Richards

 

IAN & THE ZODIACS-So Much In Love/This Empty Place U.S. Phillips 40291 1965

Liverpool's Ian & The Zodiacs like fellow Scousers The Remo Four found fame and fortune outside the motherland over in Der Fatherland (Germany). With five singles issued in the U.K. (and one dodgy LP entirely composed of other group's hits) they amassed another five singles and three LP's in Germany and spent most of 1964-1967 working there where their popularity, like that of The Remo Four, guaranteed them steady work and minor stardom until the beat boom was over. 

Today's subject was their third of five American singles all for the Phillips label between 1964 and 1966. "So Much In Love" is an early Jagger/Richards composition recorded by several other artists but never The Stones themselves. It was first cut by The Mighty Avengers in August of 1964. Ian and The Zodiacs never released it in the U.K. but it was simultaneously issued here and in Germany in September of '65 by them with lead singer Ian Edwards curiously appearing as the song's composer on the label credits (in Germany the label states "unbekannt" or "unknown") . Canadian pressings follow the American template and the Dutch pressing bears no credits. 

The band's version of "So Much In Love" is pretty much in keeping with your bog standard beat ballads. It's melodic, mildly rocking and decently executed but sadly it's nothing remarkable (I much prefer The Herd's more rocking version from 1966).

The flip, "This Empty Place" written by Burt Bacharach and Hal David was previously covered by fellow Liverpudliuans The Searchers back in '64 on their U.K. E.P. "Play the System", strangely enough the Zodiacs version is far more upbeat and moody in a cool sort of way with much neater backing vocals and this atmospheric volume pedal on the guitar and the striking of an anvil providing an odd percussive texture.

Both sides were collected on the Repertoire CD compilation "Wade in The Water: The Best Of..." and sadly neither are available through streaming as of yet. 

Hear "So Much In Love With You":

https://youtu.be/LpyZlSZXIDg?si=SXaj8ODYMKzUwaKq

Hear "This Empty Place":

https://youtu.be/SrCE-qHIjn0?si=5sWk7EeaCsUPj1pR

More U.K. Obscurities On U.S. Labels: The Poets

THE POETS-Now We're Thru/There Are Some U.S. DynoVox 201 1964

The Poets hailed from Glasgow, Scotland and were the first Scottish "beat" group to make the U.K. Top 40 with this single (Decca F 11995 October 1964). This was their debut single and sadly their only trip into the charts (the single reached #22). This enabled them to appear on all of the major British pop TV shows to plug their hit and even got them filmed for the cutting edge U.S. TV show "Shindig", who routinely filmed British bands in London for use on their show. This U.S. release (their sole American single) was launched in November. The group went through numerous line up changes throughout their brief six single history (1964-1967) . The personnel for this 45 were: George Gallacher (vocals), Hume Patton (lead guitar), Tony Miles (rhythm guitar), John Dawson (bass guitar) and Alan Weir (drums).

The Poets on "Shindig!"

Most 60's beat groups have pretty uninspiring tales of their claims to fame but nobody's can beat that of The Poets. In September 1964 Stones manager Andrew Loog Oldham flew up to Glasgow (how classy of him not to do it by bus, train or Comer van) to marry his 16 year old girlfriend Sheila Klein (16 was not the age of consent in England I'm guessing). Whilst in the Glasgow airport he spotted a photo of them decked out in the frilly shirts and dark suits with an article in a local paper on The Poets, whom he duly investigated. Loogy signed them up ASAP after auditioning them and brought them down to London to record this smashing debut which he is credited with producing. "Now We're Thru" first came to my attention in late 1984 or early 1985 when I scored a copy of the amazing Decca double LP comp "Hard Up Heroes" at Bleeker Bob's where it was nestled amongst my other first introductions to the likes of The Birds and Zoot Money. It struck me immediately with it's monster echo and hypnotic over-amplified acoustic 12 string (courtesy of lead guitarist Hume Patton) and deliberately drawn out pauses on certain words. Lyrically it's an interesting number, like many 60's beat records it's a "boy loses girl" scenario only this time around the boy is actually acquiescing to losing "her" to another and suggesting she move on! It's also one of the few 60's records that I think benefited from Oldham's studio ineptitude because it's possible that his desire to be Phil Spector and the resulting over use of echo gave this record it's charm. And it's even a group original written by Gallacher, Patton and Myles, not many 60's beat groups got that option for their debut! 

The flip side, "There Are Some" isn't very interesting. It's a slow piece with some piano, not much there really. The only high point of the record are some interesting drum rolls which were actually the work of a session musician!

Both sides were also included on the dodgy "In Your Tower" CD comp of their material and the hard to get but much better Poets CD comp "Scotland's No. 1 Group".  Strangely neither track surfaced on any of the Decca/Deram "Scene.." CD compilations. In 2011 both sides were compiled for CD on The Poet's "Wooden Spoon:The Singles 1964-1967" which is, just that (no bonus cuts unlike "Scotland's #1 Beat Group").

*****Special thanks to Lenny Helsing (Scotland's foremost 60's music expert) for his invaluable information that made this piece possible*****

Hear "Now We're Thru":

https://youtu.be/C2PBoUBXY4w?si=vAmCrkdudxF-kSz8

Hear "There Are Some":

https://youtu.be/KPMuwniboYc?si=CZ2zra5U8rg5KK0_

More U.K. Obscurities On U.S. Labels: The Merseys

 

THE MERSEYS-Sorrow/Some Other Day U.S. Mercury 72582 1966

The Merseys were a duo comprised of two ex-Merseybeats members Billy Kinsley and Tony Crane and were managed by the Merseybeat's managers (and The Who's) Kit Lambert and Chris Stamp. They made their debut in April 1966 when they took a cover of a B-side by The McCoys "Sorrow" to #4 in the U.K. charts (as Fontana FT 694).  It was issued in the U.S. the following month where it became their only release, sadly it failed to replicate it's British chart success. They went on to release 5 more U.K. singles on Fontana before calling it quits in 1968. Unfortunately they were a one hit wonder. 

"Sorrow", is an orchestral pop opus with jangling guitars beneath brass, subtle strings and ivory tinkling. It's infectious and catchy and considering the muck Kit Lambert made out of The Merseybeat's final single "I Stand Accused" it's surprisingly well produced! There's an alternate version available (see below) that's stripped of the strings and has a more jangly/folk rock feel that to my ears is far superior to the original (especially the blistering guitar solo reputed to be Joey Molland). 

TRIVIA NOTE: On The Beatle's "It's All Too Much" George Harrison sings a line from "Sorrow" towards the end of the track. 

The flip side "Some Other Day" is an absolutely disposable Crane/Kinsley original light weight pop track with muted brass/woodwinds/strings. Next....

Both sides were collected on a complete Merseybeats/Merseys and related band's anthology 2021 Grapefruit release "I Stand Accused: The Complete Merseybeats And Merseys 60's Recordings", unfortunately none of their material is available via Streaming. 

Hear "Sorrow":

https://youtu.be/sDKHTsOwkxU?si=F2Sy9g3fYjkFnXv-

Hear "Some Other Day":

https://youtu.be/hY2OBE5nshQ?si=mhmWei7Re46L6XkR

Hear and alternate version of "Sorrow":

https://youtu.be/xgIEedCRVlM?si=xbicRP773WE5JNSm